Champion Abbostford for Jetstar Magazine

Locals

On ongoing personal series, pairing local flora picked on the side of the road with the local beer - shot on location around the world. Limited edition prints are currently available for purchase.

2013 - current

Sarah Trotter for Yen Magazine

Editorial interiors photography.

Published in Yen Magazine 2014.

Vocation Vacation, The Kimberley

'Vocation Vacation' was exhibited as part of IPF at the Conduits Art Space in October 2013.

The series documents the journey driven from Broome, Western Australia to Darwin in the Northern Territory. Exploring extreme conditions of the Kimberley region and it's discordant relationship with the man-made environment.

Brown Brothers Wine

Advertising collateral for Brown Brothers Wines, in conjunction with the 'Colourful Conversations' Ad Campaign which is to be launched late 2014.

Parliament House

Documentary photography from Parliament House, Canberra.

December 2014

Lifestyle imagery, for commercial clients

A selection of Australian, predominantly Melbourne, lifestyle photography for commercial and corporate clients.

Shelf Life - Yen Magazine

Editorial for Yen Magazine, published 2014.

Nest Architects

A variety of projects for Melbourne based Architectural firm, Nest Architects.

Chela Edmunds, Potter

Documentary photography in the ceramics studio of Chela Edmunds.

A weekend with Miranda Skoczek for Inside Out Magazine

Editorial for Inside Out Magazine, published 2014.

Mariam Issa for Dumbo Feather Magazine

Editorial for Dumbo Feather Magazine, published 2014.

Wakaru, Japan

A documentary series from Japan. Published in a limited edition book, 2014.

Major Minor Campaign

Kate Ulman for Dumbo Feather Magazine

Documentary photography for editorial of Kate Ulman, an organic farmer based in Daylesford Victoria.

Published in Dumbo Feather Magazine 2014.

St Kilda Music Walking Tour for Jetstar Magazine

Reportage photography, published in the May 2014 edition of Jetstar Magazine.

Rick Amor for Dumbo Feather Magazine

An intimate look at the studio of renowned Australian artist, Rick Amor.

A weekend with Mr Jason Grant for Inside Out Magazine

Editorial lifestyle and interiors photography for Inside Out Magazine, 2014.

Lookbook for House of Maryanne

Fashion photography for vintage label, House of Maryanne.

Winter 2012

Kinfolk Christmas Workshop

A Kinfolk Wreath making workshop, hosted by Stephanie Somebody, 2013

Vetta Pasta Campaign

Rydges Hotel, Melbourne

A selection of promotional images for Locanda Restaurant. Part of the Rydges Hotels and Resorts group, 2014.

Kelly Bros Farm

Promotional images for Kelly Bros Farm, 2013.

Harry's Ice Cream Campaign

Lookbook for Sarah Trotter Vintage

Lookbook for Sarah Trotter Vintage capsule collection, 2009.

Field Notes

Exhibited at C3 Gallery, Abbotsford 2013.

Field Notes: def. observational notes of a specific phenomenonThis series of photographs represents my visual field notes on the subject of collecting, cataloguing, grouping and pattern recognition. The human brain has evolved to see patterns or meaningful connections in random or meaning- less data: to look for patterns and assign meaning, even when none exist.

These photographs are an example of my own brains pattern recognition. They are not specific to a town, state or country. Much like a collector who gathers objects that have little value to anyone but themselves, the objects gather value once they become a piece of the whole.

Three Thousand review 31/1/12 by Nathania Gilson:

If you’re the kind of person who has a tendency towards sentimentality and have been (wrongfully) accused of being a hoarder at least once in your life, chances are you’d probably find a comforting like-mindedness in the photographic world of Lauren Bamford.

Whilst Lauren’s previous work, I Hope You Choke and Neither Excluded Nor Included focused on specific subjects, her newest exhibit Field Notes is an honest attempt at capturing the elusive in-between-ness that exists within all of our humble mind palaces.

A distinctly incidental approach is used throughout the series to collect fragments of memories like souvenirs. Much like a meticulous archeologist of all that subliminal debris floating around inside your skull, Lauren uses these images to attempt asking questions like why we collect things (both on purpose and by accident) and how we create meaning out of the stuff we somehow refuse to get rid of. These particular observations shrug off anything matter-of-fact in favour of giving her own, and inevitably our own, subconscious a meaningful poke.

One of the most popular pieces we’ve ever published was a news piece on a performance/sculptural work involving dogs for the Next Wave Festival last year, dubbed Dachshund UN. People go crazy for pictures of a pooch, especially portraits of them, which is why we really like this new solo show by local photographer Lauren Bamford.

Bamford’s most recent collection of images, titled Neither Excluded Nor Included, consists of around a dozen photos of dogs she has encountered during her travels over the last 18 months, whether in the back of a ute, on a boat or in a host of other uncanny locations.

Neither Excluded Nor Included is part of a continuing body of work that aims to document the evidence of a generational change presenting itself in Australian lifestyle and culture. Each photo in the series has been taken with a 35mm SLR camera, presenting a straightforward, uncontrived account of situations chanced upon. The result is a fantastic, albeit petite, collection of images that chronicle Bamford’s adventures through Tasmania and Victoria.

Like her previous body of work, I Hope You Choke, Bamford’s latest series depicts everyday situations in a distinctly Australian light, showing that by documenting her surrounds, Bamford is forging a distinct aesthetic all her own.

I hope you choke

Exhibited at C3 Gallery, Abbotsford 2011.

“The farm, to me a playland, was to those who lived on it an onerous dead-end. Everything I observed as a marvel, was a back breaking chore to those who had to perform it everyday”

Peter Conrad ‘Down Home, Revisiting Tasmania’

‘I hope you choke’ is a photographic documentary of Tasmanian roadside produce stands and farm gate landscapes. It is a collection of photographs loaded with contradictions. A romanticised social commentary of a dying concept, despite the growing popularity and need for self sustainable living.

These images are faithful and Australian. Even more so these scenes are unique to Tasmania. An offshore island of an offshore continent, regularly omitted from maps of Australia – a lonely and savagely beautiful place, severed from the main land by a rising sea level over 10,000 years ago. Such isolation produces an ache of self doubt, a suspicion of solipsism which has the tendency to evoke an air of unease and underlying tension.

However, with current threats to the Murray Darling Basin, Tasmania has the potential to become Australia’s next food bowl. This threatened agricultural industry could be on the brink of a new dawn. There is an equal chance of these farmers being saved as there is of them being forgotten. Despite either outcome the question remains – will these photographs one day evoke a sense of mourning for our own selfish sentimentality, or for the lives and communities they consumed.

Review in The Age by Penny Modra 08/05/11:

If I see one more "back to basics" magazine spread depicting people eating apple crumble out of a pan with an old spoon while their child plays with a wooden tricycle I will fly into a demonic rage. But these rustic photographs by Lauren Bamford bite back. Documenting rickety produce stands at Tasmanian farm gates, they're portraits of isolation and bitterness. Check out the handwritten threat: "If you choose to steal my produce I hope you choke." An accomplished food photographer, Bamford is in some ways critiquing her own commercial work here, which sharpens the point. Lovely, rustic and murderous.

Two x Two

MELBOURNE'S Lauren Bamford and Karl Scullin - better known by his musical moniker, Kes - bring their photographic practice to a gallery setting for the first time with this series of portraits, each of which feature two indie rock scene subjects. Each artist takes a different approach to portraiture. Scullin's work, much of which has been lifted from album covers he's shot of several Melbourne bands, is loose and situational, relying on texture and hue. At least one of his subjects, which include the late Rowland S. Howard, is often hidden, blurred or obscured from full view. Bamford's work, however, is highly formalised. Her high-contrast monochrome prints, presented as diptychs, capture musical and artistic subjects, centre-frame, posing in their domestic or creative spaces. It's an interesting collection from two very talented photographers.